DSLR Photography - Week 18 - Composition 1

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This is Part 1 of our coverage of Composition in Photography. From class lecture given Mar 7, 2011.

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  • • Succession of Points\n• Lead the viewers into and around the scene\n• Signposts LEADING the viewers eyes\n\n• Evoke a PSYCHOLOGICAL RESPONSE depending on their ORIENTATION and DIRECTIONS\n• Used to achieve a certain MOOD or FEELING\n
  • • Succession of Points\n• Lead the viewers into and around the scene\n• Signposts LEADING the viewers eyes\n\n• Evoke a PSYCHOLOGICAL RESPONSE depending on their ORIENTATION and DIRECTIONS\n• Used to achieve a certain MOOD or FEELING\n
  • VERTICAL LINES\n> tall, balanced\n> solid, firm\n> Symbolize STRENGTH, POWER, and STABILITY\n\n> PARALLEL LINES\n- sense of order, pattern leads the eye\n
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  • HORIZONTAL LINES\n> Peaceful and Static,\n> Suggests STABILITY, PERMANENCE, and TRANQUILITY\n
  • The PLACEMENT of the HORIZON LINE itself also affects the viewer’s response.\n> When LOW in the frame, the emphasis is on the upper portion, yielding a more EXPANSIVE look.\n> When HIGH in the frame, what is below it takes on more meaning.\n
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  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • DIAGONAL LINES\n\n> ACTIVE and DYNAMIC\n> Create TENSION\n> Bring to mind ACTION and MOTION\n> LEADING LINES\n> When RECEDING towards a VANISHING POINT, create a sense of PERSPECTIVE in a scene.\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • ZIGZAG LINES\n\n> Like a lightning bolt, a zigzag line STARTS, STOPS, CHANGES DIRECTION in a jerky fashion.\n> ERRATIC, ACTIVE, IMBUED WITH TENSION and ENERGY, the evoke a sense of ANXIETY\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
  • Harmonious Whole … the “whole” is the INTENTION of our photograph. It’s the FEELING, the IDEA, or the MESSAGE. (Photoshop Cafe Composition Video Lesson 1)\n
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  • Lynda.com Video on Composition by\n\nWhen you look at this … what do you think of? What’s the message.\nShowing movement, timelessness.\n
  • Lynda.com Video on Composition by\n\nA photo of just birds? Freedom … motion … blurriness of winds enhances the movement. Open space surrounded by blue suggests freedom.\n
  • Lynda.com Video on Composition by\n\nComposed as to suggest erie, spooky feeling. NOT the fence and tombstones. Also … use of B&W enhances this feeling.\n
  • A picture of a child … but isn’t it MUCH MORE than that? \nAn image of PURE JOY and UTTER HAPPINESS … THAT is the intention of this image. This is the moment that I want to SHOW OFF.\n
  • Lynda.com Video on Composition by\n\nKNOW WHY YOU ARE TAKING THE PHOTO ...\n[The Mission Valley, Montana]\n … not a great photo … it’s UNCLEAR what the maker intends to convey. Clouds? Mountains? Roadways? … equal part of each. \nNo clear message.\n
  • Lynda.com Video on Composition by\n\nTHIS IS MUCH MORE INTERESTING!\nSky is interesting, sky flatters the landscape, sun is bathing the foreground. \nClouds and road lead you to the the bright spot in mountain.\nS-Curve adds elegance to the shot.\n
  • Lynda.com Video on Composition by\n\nThe whole scene is nice. \nMaker was interested in the barn and mountains …. but you wouldn’t know that …\nfailed attempt … just an average snapshot, a documentation of the scene\nBarn is far away, centered … light not flattering\n
  • Lynda.com Video on Composition by\n\nMUCH BETTER … more indicative of what the maker wanted to convey… \nENHANCED by composition, lighting\n
  • Lynda.com Video on Composition by\n\nMaker was intrigued by the sunlit cloud but felt the foreground was part of the “rules”\n
  • Lynda.com Video on Composition by\n\nWith an element in the foreground that COMPLEMENTED the shape of the cloud.\n
  • Lynda.com Video on Composition by\n\nThe pattern of the fern caught the maker’s eye … interesting pattern, but no clear understanding of WHERE he finds himself….\n
  • Lynda.com Video on Composition by\n\nA much more interesting composition just by moving ...\n
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  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • CURVED LINES\n\n> Similar to diagonal\n> Suggest MOTION --- but SLOWER\n> Graceful\n> Gentler tension ... but can get more dramatic\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
  • S-CURVES\n\n> Shows REPETITIVE MOTION that is GENTLE and moves with a SENSE OF DISTANCE\n\n
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  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
  • PLANES\n\n> DEFINITION: A Plane is defined by:\n1. Three points in a straight line\n2. A straight line and a point outside the line\n3. Two intersecting lines\n4. Two parallel lines\n\nEXAMPLES: Side of a building, the top of a table, the cove of a book, the face of a cliff\n\n> Can have distinct boundaries\nOR\n> INFINITE -- extending beyond the picture.\n\n> Like lines, Planes DIRECT YOUR VISION, guiding your eye INTO and AROUND the photo\n\n> Overlapping planes, and the way in which light falls upon them, create an\nILLUSION OF DEPTH\n\n> Planes grouped together form a SOLID\n\n
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  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS\n\n> Planes grouped together form a SOLID\n\n> Sometimes referred to as a SHAPE\n> THREE-DIMENSIONAL in nature\n\nEXAMPLES: Ball, Banana, Box\n\n> Can EXTEND beyond the picture\n> If solid contains BOUNDARIES, the result is a solid with a recognizable FORM/SHAPE such as a SPHERE, CUBE, PRISM, etc.\n\n> Solids provide VISIBLE CUES about SIZE, SCALE and MASS of the subject through the interplay of LIGHT and SHADOWS\n> The TEXTURE of a solid’s surface yields information about the MATERIALS that make up the solid.\n\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- How Humans Perceive Solids\n\n> For purposes of survival, humans have evolved to quickly recognize solids\n> We also recognize solids from CULTURAL CONDITIONING and from our MEMORY\n\n> We are so good at this, we frequently do not have to see the entire solid to recognize what it is!\n\n> Show enough of the solid for viewer’s brain to CONNECT THE DOTS\n
  • SOLIDS --- Environment can affect our recognition\n> Our eyes constantly scan for differences in texture, color and light\n\nYOUR COMPOSITIONS WILL BENEFIT IT YOU TAKE CARE TO ENSURE THE SHAPES YOU PHOTOGRAPH ARE SEPARATED FROM THE BACKGROUND EITHER BY COLOR OR BY TEXTURE. THIS HELPS YOUR VIEWER PINPOINT THE PHOTOGRAPH’S MESSAGE MORE QUICKLY.\n
  • SHAPES are seen in TWO DIMENSIONS\n
  • SHAPES are seen in TWO DIMENSIONS\n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • SHAPES >>> SILHOUETTES\n\nWe know that the SHAPE is a principal ELEMENT OF IDENTIFICATION\n>> You may THINK you smell a fragrant rose, but until you see it’s shape, you can’t make a positive identification.\n\n- Prehistoric man recognized the shape of buffalo versus shape of sabre-tooth tiger\n- WWII -- soldiers were trained to identify friend or foe from shape of helmets\n \n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • FORM \n\n> Form is seen in THREE-DIMENSIONS\n> Assures us that the subject has DEPTH and EXISTS in the real world\n\n> Forms depend on LIGHTING and SHADOWS\n> Generally best photographed under SUNNY conditions and with SIDE-LIGHTING\n= helped by the CONTRAST\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • \n
  • \n
  • TEXTURE - \n\n> We use texture to describe almost everything\n> Depends on one critical element -- LIGHTING\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • Jerome, AZ\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • PATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • DISRUPTION\n\nPATTERN - \n\n> Evokes emotions of STABILITY, CONSISTENCY, and BELONGING\n> SAFETY, SECURITY .... RELIABILITY due to PREDICTABILITY\n\nSINCE PATTERN IS SO PREDICTABLE, THAT WHICH DISRUPTS ITS RHYTHM AND HARMONY WILL GET YOUR UNDIVIDED ATTENTION\n
  • \n
  • DSLR Photography - Week 18 - Composition 1

    1. 1. DIGITAL SLR PHOTOGRAPHY COMPOSITION Part 1 Sandro V Cuccia
    2. 2. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid … © Sandro V Cuccia - www.Imagemedic.com
    3. 3. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    4. 4. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    5. 5. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    6. 6. TIP - O’ - THE - WEEKThe Viewfinder Framing Grid © Sandro V Cuccia - www.Imagemedic.com
    7. 7. Week 18Composition© Sandro V Cuccia - www.Imagemedic.com
    8. 8. Auto Focus (AF)
    9. 9. Photo Credits
    10. 10. Photo Credits• iStockPhoto.com• Stock Exchange (www.sxc.hu)• Sandro V Cuccia
    11. 11. The Elements of Design
    12. 12. The Elements of Design What Makes a Successful Image?
    13. 13. Single THEME or IDEA
    14. 14. SinglePoint–of–Interest
    15. 15. SinglePoint–of–Interest
    16. 16. Simplify
    17. 17. No Clutter
    18. 18. Seek Order Peterson p.49
    19. 19. Seek Order Peterson p.49 Points Lines Planes Solids The Elements of Design! ShapesOrientationFocal Point Texture Pattern Color
    20. 20. Seek Order Peterson p.49
    21. 21. The Elements of Design
    22. 22. The Elements of Design POINTS
    23. 23. The Elements of Design
    24. 24. The Elements of Design POINTS
    25. 25. The Elements of Design POINTS
    26. 26. The Elements of Design POINTS
    27. 27. The Elements of Design
    28. 28. The Elements of Design LINES
    29. 29. The Elements of Design
    30. 30. The Elements of Design LINES
    31. 31. The Elements of Design LINES
    32. 32. The Elements of Design LINES
    33. 33. The Elements of Design LINES
    34. 34. The Elements of Design LINES
    35. 35. The Elements of Design LINES
    36. 36. The Elements of Design LINES
    37. 37. The Elements of Design LINES
    38. 38. The Elements of Design LINES
    39. 39. The Elements of Design LINES
    40. 40. The Elements of Design LINES
    41. 41. The Elements of Design LINES
    42. 42. The Elements of Design LINES
    43. 43. The Elements of Design LINES
    44. 44. The Elements of Design LINES
    45. 45. The Elements of Design LINES
    46. 46. The Elements of Design LINES
    47. 47. The Elements of Design LINES
    48. 48. The Elements of Design LINES
    49. 49. The Elements of Design LINES
    50. 50. The Elements of Design LINES
    51. 51. The Elements of Design LINES
    52. 52. The Elements of Design LINES
    53. 53. The Elements of Design LINES
    54. 54. The Elements of Design LINES
    55. 55. The Elements of Design LINES
    56. 56. The Elements of Design LINES
    57. 57. The Elements of Design LINES
    58. 58. The Elements of Design LINES
    59. 59. The Elements of Design LINES
    60. 60. The Elements of Design LINES
    61. 61. The Elements of Design LINES
    62. 62. The Elements of Design LINES
    63. 63. The Elements of Design LINES
    64. 64. The Elements of Design LINES
    65. 65. The Elements of Design LINES
    66. 66. The Elements of Design LINES
    67. 67. The Elements of Design LINES
    68. 68. The Elements of Design LINES
    69. 69. The Elements of Design LINES
    70. 70. The Elements of Design LINES
    71. 71. The Elements of Design LINES Ended Here Week 1 20090209
    72. 72. Recap: Elements of DesignWhat is Composition?
    73. 73. Recap: Elements of DesignWhat is Composition? “The artistic arrangement of the parts of a picture”
    74. 74. Recap: Elements of DesignWhat is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”
    75. 75. Recap: Elements of Design What is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”“The act of combining parts or elements to form a whole”
    76. 76. Recap: Elements of Design What is Composition? “The artistic arrangement of the parts of a picture” “A product of mixing or combining various elements or ingredients”“The act of combining parts or elements to form a whole” “An arrangement of the parts of a work, so as to form a unified, harmonious whole”
    77. 77. Recap: Elements of DesignWhat is Composition?
    78. 78. Recap: Elements of DesignWhat is Composition? Subject, Secondary Subjects, … Arrange Them … Whole Idea, Thought or Feeling
    79. 79. Recap: Elements of Design
    80. 80. Recap: Elements of Design What Does the Image Make You Think or Feel?
    81. 81. Recap: Elements of Design A Great Photograph …
    82. 82. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea
    83. 83. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea• Focuses Attention to a Single Point–of–Interest
    84. 84. Recap: Elements of Design A Great Photograph …• Has a Central Theme or Idea• Focuses Attention to a Single Point–of–Interest• Simplifies
    85. 85. Recap: Elements of Design• Elements of Design make up your composition• They bring order to your composition • Points • Lines [ “Leading Lines” ] • Vertical & Horizontal • Diagonal • Parallel and Zig–Zag
    86. 86. The Elements of Design LINES
    87. 87. The Elements of Design LINES
    88. 88. The Elements of Design LINES
    89. 89. The Elements of Design LINES
    90. 90. The Elements of Design LINES
    91. 91. The Elements of Design LINES
    92. 92. The Elements of Design LINES
    93. 93. The Elements of Design LINES
    94. 94. The Elements of Design LINES
    95. 95. The Elements of Design LINES
    96. 96. The Elements of Design LINES
    97. 97. The Elements of Design LINES
    98. 98. The Elements of Design LINES
    99. 99. The Elements of Design LINES
    100. 100. The Elements of Design LINES
    101. 101. The Elements of Design LINES
    102. 102. The Elements of Design LINES
    103. 103. The Elements of Design LINES
    104. 104. The Elements of Design LINES
    105. 105. The Elements of Design LINES
    106. 106. The Elements of Design LINES
    107. 107. The Elements of Design LINES
    108. 108. The Elements of Design LINES
    109. 109. The Elements of Design LINES
    110. 110. The Elements of Design LINES
    111. 111. The Elements of Design
    112. 112. The Elements of Design PLANES
    113. 113. The Elements of Design
    114. 114. The Elements of Design PLANES
    115. 115. The Elements of Design PLANES
    116. 116. The Elements of Design PLANES
    117. 117. The Elements of Design PLANES Place ENDO board room picture here
    118. 118. The Elements of Design PLANES
    119. 119. The Elements of Design PLANES
    120. 120. The Elements of Design
    121. 121. The Elements of Design SOLIDS
    122. 122. The Elements of Design
    123. 123. The Elements of Design SOLIDS
    124. 124. The Elements of Design SOLIDS
    125. 125. The Elements of Design SOLIDS
    126. 126. The Elements of Design SOLIDS
    127. 127. The Elements of Design SOLIDS I’d still like that picture of a portion of a car
    128. 128. The Elements of Design SOLIDS
    129. 129. The Elements of Design SOLIDS
    130. 130. The Elements of Design
    131. 131. The Elements of Design SOLIDS : SHAPES & SILHOUETTES
    132. 132. The Elements of Design
    133. 133. The Elements of Design SOLIDS
    134. 134. The Elements of Design SOLIDS
    135. 135. The Elements of Design SOLIDS
    136. 136. The Elements of Design SOLIDS
    137. 137. The Elements of Design SOLIDS
    138. 138. The Elements of Design SOLIDS
    139. 139. The Elements of Design SOLIDS
    140. 140. The Elements of Design SOLIDS
    141. 141. The Elements of Design SOLIDS
    142. 142. The Elements of Design SOLIDS
    143. 143. The Elements of Design SOLIDS
    144. 144. The Elements of Design SOLIDS
    145. 145. The Elements of Design SOLIDS
    146. 146. The Elements of Design SOLIDS
    147. 147. The Elements of Design SOLIDS
    148. 148. The Elements of Design
    149. 149. The Elements of Design SOLIDS : FORM
    150. 150. The Elements of Design
    151. 151. The Elements of Design FORM
    152. 152. The Elements of Design FORM
    153. 153. The Elements of Design FORM
    154. 154. The Elements of Design FORM
    155. 155. The Elements of Design FORM
    156. 156. The Elements of Design FORM
    157. 157. The Elements of Design FORM
    158. 158. The Elements of Design FORM
    159. 159. The Elements of Design FORM
    160. 160. The Elements of Design
    161. 161. The Elements of Design SOLIDS : TEXTURE
    162. 162. The Elements of Design
    163. 163. The Elements of Design TEXTURE
    164. 164. The Elements of Design TEXTURE
    165. 165. The Elements of Design TEXTURE
    166. 166. The Elements of Design TEXTURE
    167. 167. The Elements of Design TEXTURE
    168. 168. The Elements of Design TEXTURE
    169. 169. The Elements of Design TEXTURE
    170. 170. The Elements of Design TEXTURE
    171. 171. The Elements of Design TEXTURE
    172. 172. The Elements of Design TEXTURE
    173. 173. The Elements of Design TEXTURE
    174. 174. The Elements of Design TEXTURE
    175. 175. The Elements of Design TEXTURE
    176. 176. The Elements of Design TEXTURE
    177. 177. The Elements of Design TEXTURE
    178. 178. The Elements of Design TEXTURE
    179. 179. The Elements of Design TEXTURE
    180. 180. The Elements of Design
    181. 181. The Elements of Design PATTERN
    182. 182. The Elements of Design
    183. 183. The Elements of Design PATTERN
    184. 184. The Elements of Design PATTERN
    185. 185. The Elements of Design PATTERN
    186. 186. The Elements of Design PATTERN
    187. 187. The Elements of Design PATTERN
    188. 188. The Elements of Design PATTERN
    189. 189. The Elements of Design PATTERN
    190. 190. The Elements of Design PATTERN
    191. 191. The Elements of Design PATTERN
    192. 192. The Elements of Design PATTERN
    193. 193. The Elements of Design PATTERN
    194. 194. The Elements of Design PATTERN
    195. 195. The Elements of Design PATTERN
    196. 196. The Elements of Design PATTERN
    197. 197. The Elements of Design PATTERN
    198. 198. The Elements of Design PATTERN
    199. 199. The Elements of Design PATTERN
    200. 200. The Elements of Design PATTERN
    201. 201. The Elements of Design PATTERN
    202. 202. The Elements of Design PATTERN
    203. 203. The Elements of Design PATTERN
    204. 204. The Elements of Design PATTERN
    205. 205. The Elements of Design PATTERN
    206. 206. The Elements of Design PATTERN
    207. 207. The Elements of Design PATTERN
    208. 208. The Elements of Design PATTERN
    209. 209. The Elements of Design PATTERN
    210. 210. The Elements of Design PATTERN
    211. 211. The Elements of Design PATTERN
    212. 212. The Elements of Design PATTERN
    213. 213. The Elements of Design PATTERN
    214. 214. Sandro Cucciasandro@ImageMedic.com www.ImageMedic.com

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